ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
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A rather disappointing loss of plot
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GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
Clark with the London Contemporary Orchestra (LCO)
Barbican
TECHNO polymath Chris Clark reinvents himself as a classical composer with latest album Playground In A Lake, a work that saw him learn how to read and write sheet music before producing, which he performs for the first time with an orchestra.
The album feels like a continuation of his impressive soundtrack work – The Last Panthers, Kiri Variations and Daniel Isn’t Real – and is an elegiac journey that he describes as “a story about real climate change, but told in mythological terms.”
There are moments of beauty and awe, where the juxtaposition of gentle strings with electronic dystopian dissonance on Entrophy Polychord perfectly captures an imagined futurescape, producing what you would expect from a collaboration between an electronic artist and an orchestra.
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